Zitate von Philip K. Dick
Philip K. Dick
Geburtstag: 16. Dezember 1928
Todesdatum: 2. März 1982
Zitate Philip K. Dick
„Wir bezeichnen Menschen, die mit Gott reden, als gläubig – und wir bezeichnen Menschen, zu denen Gott spricht, als geisteskrank. Dies ist ein Zeitalter, in dem es nur wenig Glauben gibt. Nicht Gott ist es, der tot ist, es ist unser Glaube, der gestorben ist.“
Die Wiedergeburt des Timothy Archer, 1982
„In der Ehe manifestiert sich der größte Haß, den Menschen füreinander überhaupt empfinden können, und dies liegt vielleicht am ständigen Zusammensein und vielleicht auch daran, daß man sich einst geliebt hat. Die Intimität untereinander existiert noch immer, auch wenn die Liebe verschwunden ist. Und so tritt der Wille zur Macht ans Tageslicht, der Wunsch, den anderen zu beherrschen.“
Warte auf das letzte Jahr, 1966
„Was, wenn ein Symphonieorchester nur bestrebt wäre, zur letzten Koda zu kommen? Was würde dann aus der Musik? Ein einziges Getöse, das so schnell wie möglich endet. Die Musik aber liegt im Prozess, in der Entwicklung – wenn man sie beschleunigt, vernichtet man sie. Dann ist die Musik vorbei.“
Die Wiedergeburt des Timothy Archer, 1982
„Der Geist eines Junkies ist wie die Musik, die du aus dem Radiowecker hörst - manchmal klingt sie ja ganz hübsch, aber sie ist nur dazu da, dich zu etwas Bestimmtem zu veranlassen. Die Musik aus dem Radiowecker soll dich aufwecken; die Musik des Junkies soll dich in ein Werkzeug zur Beschaffung von immer mehr Stoff verwandeln.“
„A psychologist said, “They used to talk about seeing only ‘reflections’ of reality. Not reality itself. The main thing wrong with a reflection is not that it isn’t real, but that it’s reversed.”“
— Philip K. Dick, buch A Scanner Darkly
Quelle: A Scanner Darkly (1977), Chapter 13 (p. 213)
„No tools. He doesn't build anything or utilize anything outside himself. He just stands and waits for the right opportunity and then he runs like hell.“
The Golden Man (1954)
Kontext: "We were always afraid a mutant with superior intellectual powers would come along," Baines said reflectively. "A deeve who would be to us what we are to the great apes. Something with a bulging cranium, telepathic ability, a perfect semantic system, ultimate powers of symbolization and calculation. A development along our own path. A better human being."
"He acts by reflex," Anita said wonderingly. She had the analysis and was sitting at one of the desks studying it intently. "Reflex — like a lion. A golden lion." She pushed the tape aside, a strange expression on her face. "The lion god."
"Beast," Wisdom corrected tartly. "Blond beast, you mean."
"He runs fast," Baines said, "and that's all. No tools. He doesn't build anything or utilize anything outside himself. He just stands and waits for the right opportunity and then he runs like hell."
"This is worse than anything we've anticipated," Wisdom said. His beefy face was lead-gray. He sagged like an old man, his blunt hands trembling and uncertain. "To be replaced by an animal! Something that runs and hides. Something without a language!" He spat savagely. "That's why they weren't able to communicate with it. We wondered what kind of semantic system it had. It hasn't got any! No more ability to talk and think than a — dog."
— Philip K. Dick, buch VALIS
Variante: What he did not know then is that it is sometimes an appropriate response to reality to go insane.
Quelle: VALIS (1981)
— Philip K. Dick, buch I Hope I Shall Arrive Soon
Quelle: I Hope I Shall Arrive Soon
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— Philip K. Dick, buch Do Androids Dream of Electric Sheep?
Quelle: Do Androids Dream of Electric Sheep?
"What The Dead Men Say" (1964)
„The basic tool for the manipulation of reality is the manipulation of words. If you can control the meaning of words, you can control the people who must use the words.“
"How To Build A Universe That Doesn't Fall Apart Two Days Later" (1978)
„SF is a rebellious art form and it needs writers and readers and bad attitudes — an attitude of "Why?" or "How come?" or "Who says?"“
Introduction to The Golden Man (1980)
Kontext: That was my problem then and it's my problem now; I have a bad attitude. In a nutshell, I fear authority but at the same time I resent it — the authority and my own fear — so I rebel. And writing SF is a way to rebel. … SF is a rebellious art form and it needs writers and readers and bad attitudes — an attitude of "Why?" or "How come?" or "Who says?"
„I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth.“
In Pursuit of Valis: Selections from the Exegesis (1991)
Kontext: I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth. Thus what I tell is the truth, yet I can do nothing to alleviate it, either by deed or explanation. Yet this seems somehow to help a certain kind of sensitive troubled person, for whom I speak. I think I understand the common ingredient in those whom my writing helps: they cannot or will not blunt their own intimations about the irrational, mysterious nature of reality, and, for them, my corpus of writing is one long ratiocination regarding this inexplicable reality, an investigation and presentation, analysis and response and personal history. My audience will always be limited to those people.
Story notes for The Golden Man (1953), in the short story anthology The Golden Man (1980)
Kontext: Here I am saying that mutants are dangerous to us ordinaries, a view which John W. Campbell, Jr. deplored. We were supposed to view them as our leaders. But I always felt uneasy as to how they would view us. I mean, maybe they wouldn't want to lead us. Maybe from their superevolved lofty level we wouldn't seem worth leading. Anyhow, even if they agreed to lead us, I felt uneasy as where we would wind up going. It might have something to do with buildings marked SHOWERS but which really weren't.
„Van Vogt influenced me so much because he made me appreciate a mysterious chaotic quality in the universe which is not to be feared.“
As quoted in "Vertex Interviews Philip K. Dick" by Arthur Byron Cover, in Vertex, Vol. 1, no. 6 (February 1974) http://2010philipkdickfans.philipkdickfans.com/frank/vertexin.htm
Kontext: I started reading SF when I was about twelve and I read all I could, so any author who was writing about that time, I read. But there's no doubt who got me off originally and that was A. E. van Vogt. There was in van Vogt's writing a mysterious quality, and this was especially true in The World of Null A. All the parts of that book did not add up; all the ingredients did not make a coherency. Now some people are put off by that. They think that's sloppy and wrong, but the thing that fascinated me so much was that this resembled reality more than anybody else's writing inside or outside science fiction. … reality really is a mess, and yet it's exciting. The basic thing is, how frightened are you of chaos? And how happy are you with order? Van Vogt influenced me so much because he made me appreciate a mysterious chaotic quality in the universe which is not to be feared.
"The Variable Man" (1952), The Collected Short Stories of Philip K. Dick, v.1: The Short Happy Life of the Brown Oxford (1987)
Kontext: Can any of us fix anything? No. None of us can do that. We're specialized. Each one of us has his own line, his own work. I understand my work, you understand yours. The tendency in evolution is toward greater and greater specialization. Man's society is an ecology that forces adaptation to it. Continued complexity makes it impossible for us to know anything outside our own personal field — I can't follow the work of the man sitting at the next desk over from me. Too much knowledge has piled up in each field. And there are too many fields.